Heraldica Nova Blog

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[paper] Silvia Marin Barutcieff, Ștefan Barutcieff (Bucharest, RO): From Sacred Art to the Art of Politics. Mural Paintings and the 15th Century Iconographic Discourse of St. George’s Castle in Mantua

In 1433, Gianfrancesco Gonzaga became the first marquess of Mantua, a title granted by Emperor Sigismund in recognition of his services to the Holy Roman Empire. Succeeding his father, Ludovico III Gonzaga ruled the Lombard city from 1444 to 1478, as the second marquess of Mantua. Having completed his education in the company of outstanding figures (such as the humanist Vittorino Rambaldini da Feltre, his tutor), Ludovico invited at...

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[paper] Elizabeth Biggs, James Hillson (Cambridge, UK): A Palace Chapel as State-Room at Westminster, 1348-1450

In 1348 St Stephen’s Chapel was completed.  Sited in the centre of the Palace of Westminster, the blank walls of the new building presented Edward III with an opportunity to create a new iconography of kingship. Between 1348 and 1363 the king and his craftsmen transformed the chapel’s surface into one of the most elaborate royal decorative programmes of the fourteenth century, including painted masonry, Old Testament narratives, sculptures,...

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[paper] Isabel Monteiro (Lisbon): Music in Portuguese Renaissance Courts: Performers, Contexts and Places

The expression ‘heraldic music’ has been used to describe musical bands of a significant number of trumpets, kettle drums and shawms suitable to accompany solemn courtly and other ceremonial events, although we do not know much about the music they actually played. It is certainly not necessary to remind the fact that no great lord did not make use of music to present his class and power, standing in...

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[paper] Christian de Mérindol (Paris, F): A propos du Palais de Sintra, les priorités directionnelles et autres références

Dans une récente étude sur les références et pratiques à la cour royale du Portugal, nous avons relevé, notamment dans le Palais de Sintra, l’emplacement significatif de la salle des armoiries, l’orientation de l’écu royal en cette salle,ainsi que l’emploi de certaines couleurs et la présence soutenue de certaines formes et de certains nombres. Nos travaux, en particulier sur la maison de France, nous avaient préparé à ces observations....

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[paper:] Nuno Senos (Lisbon): The Great Hall of the Ducal Palace of Vila Viçosa

From the 1530s to the 1560s, duke Teodosio de Bragança conducted a series of major construction campaigns in his family’s palace in Vila Viçosa providing the building with a new wing faced with a splendid marble façade (the first secular renaissance façade in the country) and a series of new rooms. Among these, a monumental staircase leads to an also new great hall of grand proportions, decorated with expensive...

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Heraldry in Early Modern Spain according to the picaresque novel (1554-1668)

I have recently published an article in which I analyze the heraldic information contained in a total of twenty-seven Spanish picaresque novels from the years 1554 to 1668. Faced with the fantastic novel of chivalry, the realistic setting of the picaresque allows a better approach to the daily heraldic practices in Spain during the Early Modern Age, as well as to the perception of the coat of arms. A...

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[Paper] Torsten Hiltmann: Heraldry and Materiality – Oxford, 1st March 2017

In recent years the concept of materiality has become more and more important in historical research. In going beyond the study of texts and images, scholarship now also addresses the materiality of their media, as well as the role physical objects may have played in different historical settings. This talk will explore the relationship between coats of arms and the concept of materiality. First, the talk will focus on...

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[paper] Pedro Flor (Lisbon): Decorating spaces: Artistic strategies of King Manuel I and the great hall of Sintra royal palace

Sintra became popular with the royal family as Queen Philippa of Lancaster received from King João I the rents and the properties of the town. Besides, the King set about rebuilding the royal lodgings around 1415. Sintra was rewarded by a series of royal visits from medieval times to Renaissance. Kings and its court stayed there on a number of occasions and seem to have particularly favoured the royal...

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[paper] Alessandro Savorelli (Florence, I): La Grande Salle de “Palazzo Vecchio” à Florence: la représentation du pouvoir entre république et seigneurie

Le Palazzo Vecchio (bati en 1299-1314) est aussi connu sous le nom de Palazzo della Signoria, mais en ce cas il n’est pas à confondre le mot “seigneurie/signoria” (qui à Florence désignait le gouvernement “républicain” de la Commune), avec l’expression communément utilisée pour definir les dominations qui s’affirment dans les des villes italiennes entre la fin du XIIIe siècle et le XVe s., après la crise des institutions communales....

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[paper] Solveig Bourocher (Tours, F): Les décors intérieurs et extérieurs de la grande salle du logis ducal de Loches au service du pouvoir de Louis Ier d’Anjou (1370-1378)

Après avoir reçu de son frère, le roi Charles V, le duché de Touraine en 1364, Louis Ier d’Anjou engagea la construction d’un palais neuf dans l’enceinte du château de Loches (France, Indre-et-Loire). De cette résidence princière, il reste aujourd’hui un corps de logis prolongé par une tour circulaire et une grande terrasse édifiée sur les voûtes d’une rampe cavalière. L’étude archéologique de l’ensemble, menée dans le cadre de...

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[paper] Sabine Sommerer (Zurich, CH): The Eloquence of the King’s Chamber. Descriptions of Royal Palaces from the 10th-14th Century

Medieval descriptions of royal state-rooms can offer important clues on how to understand these spaces. We cannot always expect them to describe existing decorations. In many cases they demonstrably did not. But, to bring their panegyric or parodistic intentions to bear, the authors necessarily had to refer to the real world experience of their audience—and to surpass it. The following questions arise: Which popular topoi are referred to? Which...

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L’héraldique sculptée à Florence 1400-1530. À propos de la thèse de doctorat soutenu par Anne-Laure Connesson en décembre dernier

Le 2 décembre dernier, Anne-Laure Connesson soutenait à l’Université d’Amiens une thèse pour le doctorat d’histoire de l’art moderne dirigée par le professeur Philippe Sénéchal et consacrée a l’héraldique sculptée à Florence 1400-1530. Ce sujet inédit est aussi un sujet d’histoire de l’art consacré à l’héraldique, exercice rarissime qui est aussi la preuve que les temps changent. Ce travail d’Anne-Laure Connesson donne raison à l’article de Francis Salet « emblématique...